Rating: 
Summary: Extremely Well Crafted and Delivered
Review: Director Robert Altman assembled an all-star ensemble cast for this story of mores and morals, relationships and class distinction. It's an insightful foray into the human condition, filled with pettiness, indiscretion, passion and lust, dignity (as well as lack thereof), an aloof disregard for our fellow man, and finally, even love; all of the things that make life-- well, if not worth living-- just "life," by definition. It's all found in "Gosford Park," during one particularly eventful weekend, from which Altman manages to paint a vivid and realistic portrait that is a telling study of what it is that makes the world go 'round. It's 1932 England, and a select group of those from the upper crust of society have gathered at the country estate of Sir William and Lady Sylvia McCordle (Michael Gambon and Kristin Scott Thomas) for a weekend shooting party. But it's a weekend that will find the guests engaging in a variety of "sports," the least of which has to do with the shooting of birds, and will ultimately involve the untimely demise of one of those present. Yes, murder is afoot among the privileged and those who serve them, and there are suspects and motives aplenty. And though it's a dreadful affair, it causes seemingly little consternation among the friends and family of the deceased, and at the same time affords at least one guest, Mr. Morris Weissman (Bob Balaban), with a unique opportunity. Weissman is a Hollywood movie producer, in attendance at this extended soiree for the purpose of researching his next project, "Charlie Chan in London," a murder mystery that takes place at a country estate. So it appears that this may become a case of art imitating life. First, however, the dust will have to settle and it will all have to be sorted out; and we find that before it's over, that can be a murky business, indeed. But such is life among the aristocracy, among whom even murder can be taken in stride-- and life goes on. Altman's film makes a subtle, yet powerful statement about what compels the human animal and serves as the impetus of his actions. Written by Julian Fellowes (from an idea by Altman and Bob Balaban), the film sagely explores the cross purposes inherent in the convergence of individual agendas and needs, and the conflicts they must, therefore, naturally inspire. Altman's characters are extremely well developed, and presented in such a way that the audience is able to keep track of who is who and where the many and myriad pieces of the puzzle fit together, though they are numerous and involve a number of storylines and subplots. As he is wont to do, Altman keeps you emotionally somewhat at arm's length, yet still involved, setting a deliberate pace that will make you oblivious of the time it takes him to tell his story (137 minutes). The contrasts he draws between the classes, and even the diverse personalities of those within them, are incisive; and in that distinction we learn so very much about who we really are and what makes us tick. The oppressively dry and reserved British bearing and atmosphere that permeates every frame of the film suits Altman's stoic style exceptionally well, and he displays such an eye for detail, from everything that happens visually, to the little snippets of peripheral dialogue and the rendering of all the human flaws and imperfections that make it so real, that this just may be his most perfect film yet. As can be expected from such an inspired cast, the performances that drive this film are second to none; but the fact that he was able to sustain such consistent quality and excellence from his actors-- considering the size of his cast alone-- is quite a feat, for which Altman deserves another nod of acknowledgement. There are a number of outstanding performances here that deserve to be singled out, but the most memorable are turned in by Helen Mirren, who is extremely affecting as Mrs. Wilson, the housekeeper with a dark secret; Kelly Macdonald, as Mary, the new maid struggling to learn the ropes of service and the ways of the very rich; Emily Watson, as Elsie, the Head Housemaid whose entanglements lead her into murky waters; Sophie Thompson, as Dorothy, the Still Room Maid (Thompson is arguably one of the best character actors around, as she demonstrates here); and Maggie Smith, as Constance, the Countess of Trentham, turning in a performance that is the definitive portrayal of privilege. Also noteworthy are Gambon, Kristin Scott Thomas (who is absolutely elegant) and Ryan Phillippe, as Mr. Weissman's man, Henry Denton. Rounding out this superb cast are Alan Bates (Jennings), Jeremy Northam (Novello), Camilla Rutherford (Isobel), Charles Dance (Lord Stockbridge), Geraldine Somerville (Lady Stockbridge), Eileen Atkins (Mrs. Croft), Derek Jacobi (Probert), Richard E. Grant (George), Clive Owen (Robert Parks) and Stephen Fry (Inspector Thompson). A transporting film that captures a time and place that now belongs to the ages, "Gosford Park" establishes the realization that environments and those who populate them are ever changing-- and yet they stay inexplicably the same; it's the nature of who we are and how we thrive, for better or worse. And it's that essence that Robert Altman captures so succinctly here. This is riveting, entertaining drama that teaches us something, if only we are willing to listen; and even the best of us would be well served to do just that. By seeing the way things are, perhaps it will give us pause to reflect upon the way things "should" be. Perhaps it is possible to create a world in which the "Upstairs, Downstairs" mentality is no longer viable; a world in which all men are viewed as equal. It may be concealed within the context, but it's a question Altman nevertheless effectively asks with this film. That's the power of the cinema-- and it's the magic of the movies.
Rating:
Summary: The Greatest Living American Director just got Great again.
Review: The most striking thing about 'Gosford Park' - besides its formal perfection, its visual ingenuity and its supreme entertainment value - is its unabashed irrelevance. These British decline-of-the-Empire upper-class dramas (upstairs/downstairs; fall-out of the Great War; rise of New Money, financial impecunious of aristocracy, etc.) no longer speak to the English in any emotionally meaningful way, their imperial demons having been exorcised in the 80s with works such as 'Brideshead Revisited' or 'The Jewel In The Crown'. There isn't a whiff of elegy or nostalgia in Altman's film - this is a shabby, unjust and unglamorous world we're well rid of. It's not even a detailed character study of the 'Remains Of The Day' type, there being too many characters, few, if any, we can truly care for. 'Park' has been compared to Renoir's 'The Rules Of The Game', another story about death and sex during an upper-class shooting weekend, but it lacks Renoir's tragi-farce discipline, his empathy, or his pre-war urgency. Maybe it's because Altman's best films have been engaged so intensely with America, its self-image, its history, the way it projects itself through popular culture. The way he has best achieved this is in dismantling those Hollywood genres - the Western, film noir, the war and gangster films - that had traditionally served the mythic image of that Americanness. Altman is simply not that engaged with similar notions of Englishness, and so 'Park' feels less rich than, say, 'McCabe and Mrs. Miller'. The 'genre' in this case - the Agatha Christie-type country-house murder - is made (very funny) fun of, but is not rigorously deconstructed in the way 'The Long Goodbye' did hard-boiled detective stories. So, we are forced to admit that 'Park' is mostly a formal exercise, a genuine heritage movie in that the manor, the decor, the rolling grounds, the costumes, the large 'prestigious' cast exist solely to provide the particular elements of Altman's mise-en-scene. The reason critics have gone ape for 'Park' is probably because Altman has returned to his trademark 70s style, which says more about the decline of cinema since that heyday than any development in Altman's genius. But what a style! The supple, prowling widescreen camera, so packed with tiny, missable details (look out especially for Alan Bates' hilarious bits of off-centre business), yet so light it can switch between whole worlds in a flourish; the freedom of its movement in two constricted spaces (the house itself, and the hierarchical social milieux within it); the lapping, musical editing that facilitates its fluidity. From the seemingly ramshackle first half, with the bustle of people flooding into this static space, bringing it to lfe, their characters revealed gradually through the tics of (marvellously observed) social interaction; through the set-pieces that never announce themselves as such, but seem to have been stumbled on until they reach such devastating pitches; to the murder scene, that cuts through the surface aimlessness like a knife, bringing out (for the viewer at least) the various lies and concealments and evasions hidden with such apparent casualness beforehand. Altman, of course, is on the side of the servants - subsumed under their employers' identities, he gives them a modicum of inner life (see in particular the central, spine-tingling Ivor Novello medley sequence), even melodrama; a conspiratorial wit; a Henry Green-like roundness away from their largely-caricatured betters. The detective plot, the murder of a peer, paradoxically foregrounds them, making the upper classes ultimately irrelevant. And, all the while, Hollywood visitors spy and deceive gathering material for a Charlie Chan movie. Bet it was nothing like 'Gosford Park'.
Rating: 
Summary: Great ensemble cast, and layers of good stuff
Review: "Gosford Park" is set in rural England in the early 1930s, at a big country estate where a dozen or so aristocrat-types (and all their personal servants) are gathering for a weekend shooting party. The movie follows what happens "above stairs" between all the snobbish aristocrats, and also what happens "below stairs" in the servants' domain. Shot in typical Robert Altman fashion, many things happen all at once (much as they would in real life); two important conversations will happen simultaneously, or something important will go on in a corner of the room while you watch the action in the center of the room. Dialogue flies fast and thick, creating layers of intrigue. The story is complicated, and manages to make comments on myriad subjects. Almost every moment, every line of dialogue, and every character is a comment on something of significance. The picture is populated with at least twenty characters (keeping track of them, AND trying to pay attention to the dialogue really keeps your brain going), all of them well-cast and acted superbly, none too showboaty and all solid in a British sort of way. Maggie Smith (Countess Constance Trentham) delivers a hilariously wry performance, while Emily Watson (Elsie) does an admirable job as a worldly-wise housemaid. Other notable performances include Hellen Mirren as Mrs. Wilson, Kristen Scott Thomas as Lady Sylvia, Ryan Phillipe as Henry Denton, and Clive Owen as Robert Parks. The entire cast delivers note-perfect performances, and really, I wanted to include about eight other people on the "other notable performances" list... I don't consider myself a big fan of Robert Altman, but I was pleased with this movie. It is a low-key whodunit, but more than that, it is a study on a few groups that are almost extinct now - high English society, and the servants that support them. Very worthwhile, and very fascinating, with superb craftsmanship all the way around: writer, director, actors, and crew.
Rating:
Summary: Once is not enough
Review: ... and that is not a complaint. The other reviewers are right that there is more than you can take in the first time. It's like a dish so complex that you need more than one helping to try to figure out the flavors. Sometime life itself is like that, too. My wife and I shall return to the theater at least once, and I know I will buy the DVD when it comes out so I can savor it again. There are no minor roles, but there are many that are small in terms of exposure but cast with some really great actors; a lot of horsepower indeed.
Rating: 
Summary: I did not like this movie.
Review: A problem that Richard Gere's "Dr. T and the women" had in 2000 was that if you didn't care about the world of fashion and you didn't care about Texas well there wasn't much for you. The story and characters could not stand on their own. Well, this is how I felt with Gosford Park. If you didn't care about upper class English rural socialites well you were going to be bored for 2 hours. None of the characters were substantive or vibrant enough to keep you interested otherwise. In fact it was just a bunch of attempting to be witty, really snotty remarks shot at other characters you didn't have any reason to care about all in the name of social convention. My question is who cares? It was one of those movies where I was counting down the minutes until it was over. And I read really good reviews about it, I expected it to be good. In fact I even think that Entertainment Weekly gave it an A. Sadly I disagree.
Rating:
Summary: Dead Birds and Englishwomen
Review: Gosford Park is an English class social satire built around an Agatha Christie type whodunit. Guests arrive from the countryside to join Sir William at his sumptuous country estate for a shooting party, one of the common social mileposts for thirties style aristocrats. The camera circuits the assemblage like a prying but invisible guest, dodging among the servant class one moment, intruding into the bedrooms and sitting rooms of the increasingly beleaguered upper classes the next. It's the contrast between the social classes that's most interesting to me in this movie, especially when combined with the arch, tangy, and sophisticated humor. The unending castle intrigues, conspiracies,and love trysts are backlit by pithy commentary and servants who are as snotty and rank-conscious as their 'employers'. The dialogue is delivered with pin-point accuracy and timing, though delivered in that British Isles style that I didn't always recognize without asking the person sitting next to me in the theater, who had a better ear for British English than I did. This movie takes the editing of dialogue and vignette to new levels in creating a montage of impressions which add up to a social picture of a dying empire, a decaying aristocracy, and the growing power of the 'lower classes'. This is a good and innovative Altman film, but it will not find a large audience with the action-film crowd who might find it a bit too precious.
Rating:
Summary: Fun period piece and classic Altman
Review: The first thing I loved about this movie is that it is a great period piece - better even than "Remains of the Day." The upstairs/downstairs dynamic is highly entertaining, and the whole movie has been beautifully designed. This alone makes the movie well worth seeing. The second thing I liked was the excellent performances by Maggie Smith and several members of the ensemble cast. Finally, the plot is a comibination murder mystery/comedy of manners that is lots of fun and keeps you on your toes. The only reason I didn't give this movie five stars is that the ensemble cast, while generally excellent, was simply too large. There were several marginal characters who played no real role in the plot. Consequently, the movie was longer than it should have been, and you needed a play book to keep all the characters straight. It was particularly difficult to figure it all out in the beginning. Stick with it, though, and you will have a thoroughly enjoyable time.
Rating:
Summary: Riveting Drama!
Review: This really is an excellent movie from start to finish.A marvellous story line,brilliant acting in the portrayal of intriguing characters,suspense,plenty of humour and an amazing historical social commentary. The movie is set in Britain in the 1930's.There is still a relatively thriving aristocracy based on birthrights and nobility.It's only relatively thriving because the film portrays in certain characters of this class that they were beginning to fall on hard times financially.To serve this nobility are the servants,who seem to be born into a life of selflessness.But is it pure selflessness or do they carry out their jobs because it offers a certain strange sense of security and also and a far more likely reason because it has been carried down from one generation to the next.The first aspect of the film to strike you is the way they regarded themselves as 2nd class citizens in order to tend to every whim of their masters.You see 2 servants standing in the pouring rain waiting as the mistress makes her way to a car.The nobility can't seem to do anything for themselves-they can't dress themselves,carry anything,put on jewellery-it's a wonder they can actually feed themselves the food that is so carefully prepared.At one stage Maggie Smith's character complains about how tiresome it is to "break a new servant in!" This contrast is of course well familiar to us and is very obvious in the film.But there are also hierarchy's within the upper class and the servants also,that become surprisingly obvious.Money and birth positions seem to work hand in hand.Many of the nobles now find themselves marrying people whose parents may have been industrialists to keep their charade of unadulterated wealth going.The hidden snobbery is never blindingly obvious-it's more likely to rear it's ugly head with lots of barbed and frankly bitchy comments throughout.It seems that the womenfolk in this film are particularly skilled in delivering a witty yet very cutting put down.The servants have a hierarchy in their own world.Those who are valets or personal maids and have contact with the gentry are seen as a cut above the kitchen staff and cleaners.The contrast between the two groups is thoroughly absorbing throughout the film.Both need each other.Servants because they need the roof over their head and the gentry because the servants are an excellent informative source of gossip who can be used to gain a certain one upmanship over your rivals.The one feeling you get from the characters in this film is a certain lack of warmth and true friendship.This is more obvious in the lords and ladies. The story line is based around a weekend party at Gosford.Each character tends to be entwined with the lives of others.The whole movie has a real Merchant Ivory period drama to it.As the weekend unfolds one of the main characters is murdered.This leads to endless speculation and innuendo.The acting is simply wonderful from a cast with stars that are too numerous to mention.It becomes a bit of a 'whodunnit' and the ending is satisfying yet surprisingly low-key.
Rating: 
Summary: A staggering constellation of talent
Review: Both in front of and behind the camera. Robert Altman is possibly the greatest living American director and he has assembled a cast that rivals that of any in film history. Unfortunately, the screenplay by Julian Fellowes (from an idea by Robert Altman and Gosford co-star Bob Balaban) does not hold up its end of the bargain. There is little in the way of new insight into the co-mingling worlds of master and servant and while there are some excellent quips, Maggie Smith and Kristin Scott Thomas get some especially choice ones, most of them are on the same level as 1975's Murder By Death. Robert Altman films have always concerned themselves more with character interaction than plot mechanics. The Long Goodbye and McCabe & Mrs. Miller are two genre films by Altman that succeed brilliantly at drawing us into the world of the film without having a major plot point every seven minutes. But those were films with far fewer significant characters. Nashville and especially Short Cuts were Robert Altman films done on a much larger canvas like Gosford Park, but with characters that desperately want something, desperately need something or are just plain desperate. And while even in those films there is a sense that the characters ultimately don't care what happens, it works because they are unresponsive to much larger and more profound situations. Nobody really wants very much in Gosford Park. Sir William (Michael Gambon) is a very wealthy man who is despised by nearly every character in the film, but those that hate him also need his money. Some depend on him for allowances and others need a job. But even they seem to know how petty their concerns are and the film is never compelled anywhere by their desires. Bob Balaban plays a film producer accompanied by Jeremy Northam as Igor Novello and Balaban's "Scottish valet" Ryan Phillipe. The producer is doing a Charlie Chan in London film and wants to see Sir William's gorgeous countryside estate so he can have an idea of what sets to build when the film is shot on a Hollywood soundstage. Igor Novello doesn't have anything invested in the trip and Phillipe's valet wants to fool around with as many women as possible. That three major characters in a 2 1/2 hour film have so little at stake is probably intended to be funny, but comes off as being the result of a sloppy script. Maggie Smith's Constance is a frivolous grand dame who may be facing some financial difficulty unless she is able to talk to Sir William alone. Maggie Smith has built up a lifetime's worth of audience goodwill as a superb actress who can bring life to any character in any scene. It is a testament to her talent that her episodes are among the film's most involving. And yet we do not fear for her because we know (and she knows) that Michael Gambon's slovenly Sir William is no match for a Maggie Smith character. Kristin Scott Thomas is Lady Sylvia. Sir William's in-name only wife. It's a great, brave performance. She does not even attempt to give her character one sympathetic trait, other than her stunning beauty. But in her complete heartlessness she pulls the audience into feeling something for her character rather than viewing her as another upper class heel to be dismissed as such. The servants are a likeable bunch and it is very probable that the filmmakers intended them to be. This in itself is a letdown as it prevents the film from going into new, interesting territory. Aside from Richard E. Grant's snide character, practically every servant is a model for noble suffering and inner goodness. The performances are all flawless, with Clive Owen, Kelly MacDonald and Emily Watson standing out among company such as Alan Bates, Helen Mirren and Derek Jacobi. But it is a colossal dissapointment that we are presented with yet another depiction of the heroic working class rather than taking things into much darker territory. Especially with a group of actors so capable and willing to go into any facet of human emotion. The murder that takes place in the story is a non-entity to most of the film's characters and is even joked about as being so. Such winks at the audience deflate Gosford Park's own punchline. We cannot be amused because they are in on it too. Everyone knows everything is a joke so we have nothing to discover other than our own cleverness in joining them in a laugh.
Rating:
Summary: A Walk In The "Park"
Review: Robert Altman's "Gosford Park" is being described by many as a mix between Agatha Christie and Jean Renoir. And, I have to agree with that statement. As I watched the film I couldn't stop thinking of Jean Renoir's "Rules of the Game", which happens to be one of my favorite films and my favorite film by Renoir. Yes, that's right, I said "Rules of the Game" is my favorite not "La Grande Illusion", so hold back your feelings of contempt for me lol. What I really loved about "Gosford Park" was the atmosphere created by Altman and all the actors in the film. It's has such a pleasant, light tone to it, that it was almost difficult for me not to enjoy it.
Altman loves making films with a huge cast, let us not forget his 1993 film "Short Cuts" my favorite of his films or "Nashville". So, with this story line Altman is right at home. His directing is in top form. That's the other thing that impressed me so much about this film. His ability to direct so many things at once. He pays attention to the smallest of details making sure the film has a spontaneous feel to it.
The plot, which I promise not to give too much away, goes as follows; Lady Sylvia (Kirsten Scott Thomas) & Sir William McCordle (Michael Gambon) are having a party. You know, one of those "old fashion high society get togethers" where everyone makes charming conversation about subjects in which they don't have the slighest clue in which their talking about. And everyone is spreading around the lastest gossip. They go duck hunting and afterwards have cocktails and laughs. It's was almost like the daily life of Noel Coward lol. Among the guest that arrive are the Countess of Trentham (played perfectly by Maggie Smith) and her maid Mary Macreachran (Kelly Macdonald, who I felt stole the show in her scenes). There's Morris Weissman (Bob Balaban, who also produced the film and came up with the story along with Altman) a Hollywood producer who's come to London for preparations on his lastest film. A Charlie Chan mystery film. He brings with him his servent, Henry Denton Ryan Phillippe. Also, Emily Watson (Another standout in this large and talented cast) plays the head maid, and Helen Mirren plays the head housekeeper. The charm between these actors and actresses in certain scenes are priceless, and I will not give away a single memorable line of dialogue.
Besides the wonderful acting in the film the music by Patrick Doyle adds to the mood the film tries to create. He has written some truly great songs, that seem just perfect for the time period. The cinematography in the film is very striking also.
I would recommend people go see this film just based on a few things; Altman's directing, the great cast, the music, and the wonderful atmosphere. A delight gem by Robert Altman!
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